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Henry Keazor «Up and Atom!» Superheroes in The Simpsons I. Introduction It is generally agreed that the cartoon series The Simpsons is an often sarcastic, ironic and biting distorting mirror of contemporary Western society. Originally created in 1987 for a series of short films in the context of the Tracy-Ullmann- show by Matt Groening and then, in 1989, decisively developed as an autono ­ mous 30 minutes show by Groening, James L. Brooks and Sam Simon, «America's most dysfunctional family» (as the Simpsons have been often hailed), takes up issues and topics not only related to current political and social discussions, but also to art, literature, music, theatre and popular culture. They have managed to be more than «simply a commentary on culture but an intervention into culture,» as John Alberti has put it.1 As the highly self-referential title-sequence makes clear, the media, especially television itself, play a decisive role: the opening sequence culminates with an image of the entire family gathering before the television set. The importance of this moment is even enhanced by the fact that the whole sequence is built out of a mix of on the one hand each time recurring elements and of, on the other hand, new ones, changing almost every time. Thus, the succession of scenes depicting how the family members leave their different duties at school, at work or shop ­ ping, are interspersed in each and every episode with variations. These alter­ ations to the main substance of the opening sequence include 1) the blackboard ­ lines of the son Bart Simpson, which always hint upon his offences, earning him this punishment, 2) daughter Lisa Simpson's saxophone solo, provoking her dis ­ missal from the school orchestra and, 3) especially, the so-called «couch gag» which emphasizes the moment the family gathers in front of the TV set by presenting each time a variation on how and despite which obstacles the family manages to take their seat on the sofa. Moreover, the suggestion is that the Simpsons apparently watch their own show since it is the title of the cartoon which appears on the screen of their TV: we not only watch the Simpsons, but that we actually watch The Simpsons with the Simpsons - a fact not only acknowledged e.g. by Jonathan Gray's study Watching with the Simpsons, 2 but also confirmed by the writer and producer Al Jean: «Some of the most creative stuff we write comes from just having the Simpsons watch TV.» 3 In fact, very often the above mentioned themes and topics - such as politics and culture - are introduced via television or put into a more or less direct rela­ 1.2011 tion with it (for example when the question, if, despite its shocking nakedness, Michelangelo's David should be exhibited in the Springfield Art Museum, is dis ­ berichte cussed in a TV show). 20 kritische But TV is not the only medium used by the Simpsons in order to create a dis ­ torting mirror of society - as we will especially see when talking about «Superhe- roes in The Simpsons, » movies also play an important role. However, when it comes to the presence and the representation of superhe ­ roes, TV and movies are not the only means and media: In accordance with the history of the superhero-genre which started in comic strips and books and then spread towards cinema and TV, comic books are of an almost primary importance in The Simpsons. Given that The Simpsons, as seen above, is often dealing with its own genre (for example as a TV series referring to TV) and since the series, as a cartoon (and thus as animated drawings) is also showing a kinship towards comics, superheroes are thus in a certain way an almost over-determined genre for The Simpsons since they-just like the Simpsons - appear in comics, cartoons, films and TV.4 Finally, as in our society, the presence of superheroes is not only restricted to the media, but - incited and influenced by them - we by now also had and still have self-declared superheroes in everyday life, a phenomenon explored in Mark Millar's and John Romita Jr.'s 2008 comic book series Kick-Ass, followed by the 2010 cinematic adaptation directed by Matthew Vaughn. Not only, as Angela Ndalianis has stated, while reviewing a development, starting in the 30's of the 20 th century and still ongoing, «the superhero has become part of the wider cultural consciousness,» 5 but, as Jason Bainbridge has also argued, despite the fact that «superheroes have largely been excluded from academic study,» because they are mostly just «viewed as a kind of adolescent wish fulfilments it is rewarding to study them also exactly therefore: «Because they are a wish fulfilment, a study of superheroes is therefore also a study of the perceived deficiencies in society and what <being heroic> necessarily entrails.» 6 Although The Simpsons mainly deals with the American way of life, given the impact of American culture on Europe, Europeans recognize most of the issues taken up and mocked by the show, 7 meaning that its distorting mirror helps us see also here in Europe more clearly why and how superheroes still respectively again matter - even after Georg Wilhelm Friedrich Hegel.8 In a similar way a cari­ cature exaggerates the traits of a depicted person or situation in order to make it immediately recognizable while at the same time making fun of it (the term «caricature» originally comes from the Italian «caricare» = «to charge,» «to load up» and means a depiction which is overloaded with characteristic traits and fea­ tures). Therefore, the distorted mirror of The Simpsons might also make evident characteristic traits of the contemporary superhero by exaggerating and mock ­ ing them. II. A: Superheroes in the media As already stated, The Simpsons often deal with the representation of superhe ­ roes in the media and here in comic books and in films. Hereby, the series emphasizes in a certain way the predominance of the Atom!» comic book over the film which mostly, when dealing with superheroes, draws and upon comic books. Thus, the Simpsons-universe is populated with a plethora of «Up superheroes in comic books while in film there seems to be only one recurrent superhero: Radioactive Man. In a certain way he also seems to stand at the begin­ ning of the superhero-history in the Simpsons -world. As a discussion between Keazor Henry 21 1 A look into the different superheroes, present in the Simpsons-universe: The Simpsons, from the episode Radioactive Man (1995) Bart Simpson and his friend Milhouse Van Houten during the opening of the epi ­ sode Radioactive Man, produced and first aired in 1995,9 makes clear, Bart loathes other - seemingly new - superheroes as weak imitations of Radioactive Man and he even points out their raison d ’etre: the greediness of the comic book industry which wants to cash in as much money as possible by creating a new superhero every week. It is interesting in this context to see which characteristics these superheroes have: in a for The Simpsons typically quick camera pan across the comic book ­ store (the series invites its audience to view and review its episodes with the remote control in hand in order to stop at particular moments and discover all the seemingly unimportant details), we get a good overview of the comic books on sale. It hereby becomes obvious that the imagination of the comic book indus ­ try in creating new heroes is limited to the increasingly absurd variations on the combination of humans with the surrounding flora and fauna (ill. 1): Birdguy, Cat- girl, DogKid, Snakekid, The Human Bee, Treeman, Mr. Hop and Iguana Lady clearly show that their creators are simply and in the most uninspired way only varying the model introduced in 1939 by Bob Kane and Bill Finger when presenting Bat­ man , a superhero who dresses up in a bat-costume and, like its heraldic animal, only gets active in the night, as well as Stan Lee's and Steve Ditko's Spiderman from 1962, who in a certain way took Kane's and Finger's concept verbally and at the same further by presenting a hero who not only calls himself after an animal in order to hint upon certain of his characteristics in crime-fighting, but who ac­ tually - via a bite from a radioactive spider - got some of the capabilities and skills of a spider (such as great strength, climbing up walls etc.). The apex in this respect was certainly the introduction of the Animal Man in 1965, a superhero (created by author Dave Wood and artist Carmine Infantino) with the power to absorb the capabilities of every nearby animal,10 topped only by supervillain The Animal-Vegetable-Mineral Man, introduced already in 1964 by author Arnold Drake and artist Bruno Premiani, whose body could transform into any mis­ matched combination of elements. 1.2011 Michael Chabon (a big admirer of The Simpsons who also appeared in the series as himself in 2006), in his Pulitzer Price winning novel The Amazing Adven ­ berichte tures ofKavalier & Clay, published five years after the Radioactive Man-episode in 22 kritische 2000, projects the strategy of the comic book producers, as mocked in The Sim ­ psons, even back to the time when Superman was created: Chabon's protagonists - the Jewish partners illustrator Josef Kavalier and author Sammy <Clay> Klayman (obviosuly modelled upon the Superman-inventors Jerry Siegel and Joe Shuster) - try to profit in the late 30's from the growing success of the superhero-genre in the comic-book-business and thus arrive at the conclusion: If he's like a cat or a spider or a fucking wolverine, ifhe's huge, if he's tiny, ifhe can shoot flames or ice or death rays or Vat 69, if he turns into fire or water or stone or India Rub ­ ber.

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